Frank Carlberg - Dream Machine

Label: Red Piano Records

Personnel - Frank Carlberg: piano, Fender Rhodes; Hery Paz: tenor saxophone; Leo Genovese: Hammond B3, Farfisa organ, synths; John Hébert: bass; Dan Weiss: drums.

Frank Carlberg, a Finnish jazz pianist and composer of remarkable talent, unveils Dream Machine, a stellar album that encapsulates his unique ability to unify diverse musical elements into a cohesive whole. Continuing to expand the boundaries of his art form, Carlberg assembles a sensational new quintet of New York-based artists featuring the breathtaking Cuban-born saxophonist Hery Paz, the sublime Argentine keyboardist Leo Genovese, the steadfast French bassist John Hébert, and the enlightened American drummer Dan Weiss.

Among the album’s 13 compositions, four are ‘Dream’ pieces, inspired by literature, cinema, magic shows, and other artistic experiences. Fueling creativity and discovery, “Dream I” thrives on conscious pulsation and spatial glitches, while “Dream II” embraces a freer, improvisatory nature. “Dream III” surges with invigorating thrust and robust tenor saxophone playing. 

Paz, an authority on tenor saxophone, demonstrates an impeccable command of every note he plays. He shines in “The Jester”, a motif-driven piece delivered with melodic accentuation, humor, and rhythmic agility, where his interplay with Carlberg and Genovese is nothing short of immaculate. He also excels on “Reconstruction”, igniting powerful bursts of sound in an avant-garde jazz setting that emerges from an initial swinging momentum set by bass and drums. Genovese contributes a fusion-leaning solo, complemented by Carlberg’s intuitive piano accompaniment. Weiss takes the spotlight with an unaccompanied improvisation before the theme’s return, infused with Monk-like angularity.

Inspired by the dreams, anxieties, and thoughts of David Zimmer—the protagonist of Paul Auster’s The Book of Illusions—“Zimmer’s Dream” is pure modern creativity highlighted by outstanding saxophone and drums. Weiss uses brushes and drumsticks in the exquisite post-bop-meets-gospel “Into the Sunset”, scraping tones off the drum surfaces with finesse, while Hébert early infuses “Nostalgia” with his bass meditations before calm sax-piano unisons emerge. “Search and Rescue” showcases superior interplay, segueing into “Light Matter”, a no-friction idea that gradually intensifies, exploring the limits.

A testament to Carlberg’s prowess as a composer and arranger, Dream Machine brims with thrilling, virtuosic moments—both in individual improvisations and the collective synergy of the ensemble. It stands as one of his finest works in years.

Favorite Tracks:
03 - The Jester ► 05 - Dream II ► 06 - Reconstruction ► 09 - Zimmer’s Dream

Jon Irabagon - Server Farm

Label: Irabbagast Records

Personnel - Jon Irabagon: tenor and sopranino saxophones, effects; Mazz Swift: violin, voice; Peter Evans: trumpet, flugelhorn; Matt Mitchell: piano, Fender Rhodes, Prophet-6; Miles Okazaki: guitar; Wendy Eisenberg: guitar; Michael Formanek: acoustic bass; Chris Lightcap: electric bass; Dan Weiss: drums; Levy Lorenzo: kulintang, laptop, electronics, vibraphone.

Saxophonist/composer Jon Irabagon stands as a pivotal figure in the contemporary jazz universe, with a catalog of starkly expressive albums that exemplify excellence in creative, improvised music. This year, he presents Server Farm, an electrifying work that explores the threats and promises of A.I. To realize this vision, he leads a super electro-acoustic ensemble with an unconventional instrumentation. 

New sonic avenues are constantly emerging in this cutting-edge experience, beginning with “Colocation”, brilliantly introduced by Levy Lorenzo’s kulintang (a system of gongs). Acid vibes bubble up, infused with sensibilities of free funk and avant-garde jazz. Chris Lightcap on electric bass and drummer Dan Weiss thrive in a rhythmic symbiosis, while Matt Mitchell delivers a clamant keyboard solo. The guitar noise of Miles Okazaki and Wendy Eisenberg collides with Mazz Swift’s violin and the boisterous horn entanglements of Irabagon and trumpeter Peter Evans. A calm chamber passage provides a momentary contrast before a violent orchestral flux paves the way for a wonderfully explorative solo from Evans. A methodical pulsation, led by vibraphone and interwoven horn lines, builds toward a revolutionary, chaotic ending.

“Routers” carries a sumptuous Latin drive shaped by opposing rhythms and offbeat phrasing. Added after the initial recording, Irabagon’s tenor sax solo stands out, and the piece concludes like an ethnic dance, enriched by wafting violin. “Singularities” unfolds with hyper-fluency, shifting from a lavish avant-jazz symphony—marked by resounding unisons—to guitarists carving out individual space with their outside-the-box inflections, before settling into a jazzy R&B passage that emotionally resonates with the listener. It traverses a mantra-like, rock-fueled ambiance before culminating in a fantastic 3/4 extravaganza, a bold display of rhythmic audacity.

“Graceful Exit” opens with the earthy, assertive bowed bass of Michael Formanek. Electronics, piano, and drums gradually layer in before the ensemble momentarily pauses the wild excitement for a lyrical Ellingtonian section, evoking the charm of a classic jazz standard. The album’s offbeat conclusion comes with “Spy”, an entrancing, penetrating, and intricately layered piece featuring a pandemic-era poem written by Irabagon, bass pedals, vibing chimes, and agitated buzzing sounds.

Irabagon thrives in progressive musical landscapes, forging a new identity with Server Farm. His collaborators, all deeply invested in conveying his message, contribute to yet another game-changing epiphany—one where there’s always more than just the sum of the parts.

Favorite Tracks:
01 - Colocation ► 03 - Singularities ► 04 - Graceful Exit

John Patitucci - Spirit Fall

Label: Edition Records

Personnel - John Patitucci: acoustic and electric bass; Chris Potter: tenor and soprano saxophone; Brian Blade: drums.

Spirit Fall marks a virtuosic and high-energy album from bassist and composer John Patitucci, who leads an irresistible all-star New York trio featuring saxophonist Chris Potter and drummer Brian Blade. Together, they infuse nine Patitucci originals and one cover with their distinct creative flair.

In the wickedly inventive opener, “Think Fast”, the trio propels the music forward, embracing a lively atmosphere brimming with humor and groove. Potter, a fearless improviser, seamlessly blends folk and post-bop elements with articulate, sophisticated phrasing. Patitucci’s solo stands out for its rhythmic inventiveness and magnetic note alignments, while Blade’s elegant drumming remains transparent yet propulsively engaging. The drummer collaborates closely with Patitucci on “Pole Star”, painting vivid tonal landscapes that lend the piece a palpable tactility. Here, Patitucci delivers a robust, precise bass solo, while Potter's saxophone statement stirs both energy and emotion.

“Deluge on 7th Avenue” finds the ace rhythm section crafting an infectious funky groove before settling into a 12-bar blues form. Another deliberate funk crusade is offered in “Lipim”, which means hope in the Yemba language from Cameroon. A compelling groove and constructive saxophone lines drenched in effects make it more stimulating. Less ferocious yet equally effective, their rendition of Wayne Shorter’s “House of Jade” feels both seductive and empowering, with Potter’s dramatic leaps perfectly balanced by the nearly telepathic rapport between Patitucci and Blade.

On “Thoughts and Dreams”, Patitucci demonstrates remarkable technical prowess, extracting superb intonations from his six-string electric bass. He stretches with elastic grace during the introspective, abstract opening before transitioning to a blues-inflected closing segment. The title track, “Spirit Fall”, embarks on a phenomenal modal journey filled with splendid bass guitar chords as well as searing soprano saxophone licks and exultant drum fills. In turn, “Sonrisa” astutely links contemporary jazz to Latin rhythms, maintaining fluidity while showcasing Patitucci’s deep allegiance to groove and fusion. These are pieces that resonate with profound inspiration, echoing the enduring influence of Herbie Hancock, Joe Henderson, and Chick Corea. 

Recorded in a single day, Spirit Fall is an accessible album whose tracks are layered from interesting angles, fostering unity and spiritual growth in today’s fragmented world. The trio distills their pure sounds with humanity and power, and their effort results in a thoroughly exciting and rewarding listening experience.

Favorite Tracks:
01 - Think Fast ► 02 - Pole Star ► 05 - Spirit Fall

Dayna Stephens - Hopium

Label: Contagious Music

Personnel - Dayna Stephens: tenor saxophone; Aaron Parks: piano; Ben Street: bass; Greg Hutchinson: drums.

Dayna Stephens has established himself as a prominent saxophonist and sought-after sideman. His new quartet album, Hopium—a portmanteau of the words ‘hope’ and ‘opium’—features the same ensemble that brought Right Now! Live at the Village Vanguard (2020) to success. The album comprises seven original compositions by Stephens and one by Parks.

Opening the set, “Drive North to Find the Oranges Out West” unfolds elegantly, employing melodic ambiguity and harmonic complexity to explore the uncertainties and possibilities of life's winding paths. The following track, “Jump Start”, pays homage to Herbie Hancock’s “A Jump Ahead” and stands as a spirited, successful experiment. Ben Street's pulsating bass—renewed with woody resonance every 32 bars—anchors the piece, complemented by Greg Hutchinson’s simmering drum patterns and Parks’ colorful piano voicings. Stephens delivers a free-flowing, serpentine saxophone performance that defies conventional standards. The quartet grooves with post-bop vitality, closing on a slightly sinister note.

“Trust” reveals a softer side with thoughtful, balladic statements, while the title track, “Hopium”, exudes a tango-like expressiveness, navigating the space between optimism and denial. Its rhythmic and melodic captivation culminates in an unresolved chord, symbolizing lingering doubt and cynicism. This leads seamlessly into “Occasionally Cynical”, a fluid and exploratory piece filled with ternary rhythmic fluxes and rubato passages. Stephens masterfully guides the haunting theme, spinning out coolly lyrical reflections imbued with modernity.

Before the closing track, “As Truth Rises Above Power”, which features the dynamic guitar work of guest Charles Altura, there’s Parks’ “Hard-Boiled Wonderland”, leaning into the sounds of Sam Rivers’ “Cyclic Episode” and Chick Corea’s “Humpty Dumpty”, and drawing inspiration from Haruki Murakami’s concept of alternate realities. Though the piece maintains an intentionally gentle lyrical pulse, tension subtly simmers beneath the surface.

Hopium is a different album that makes sense within Stephens’ oeuvre. Yet, it is not an immediate album. Some listeners may be disappointed by the departure from common jazz threads, while others will be captivated by the unusual colorings offered by these four resourceful musicians.

Favorite Tracks:
02 - Jump Street ► 05 - Occasionally Cynical ► 06 - Hard-Boiled Wonderland

Henrik Jensen - Above Your House

Label: Babel Label

Personnel - Henrik Jensen: double bass; Esben Tjalve: piano; Dave Smith: drums.

Danish-born bassist and composer Henrik Jensen delivers his fourth album as a leader, Above Your House. Having lived in the UK for over 20 years, Jensen transitioned from studying electric bass to mastering the double bass. His cohesive trio features longtime collaborators: Danish pianist Esben Tjalve, who recently returned to Denmark after two decades in England, and English drummer Dave Smith, who spent seven years playing with Led Zeppelin frontman Robert Plant.

The lively opener, “Blow-ins”, kicks off with a dynamic groove that immediately grabs the listener’s attention, showcasing both rhythmic resilience and strength. The track highlights Jensen’s artistry as he navigates smooth rhythmic transitions, injects harmonic color, and solos deftly over the three-time feel crafted by Tjalve and Smith. “Brain Brexit” follows a lyrical piano classicism, elegantly spread over a steady rhythmic foundation. The piece builds to a final six-beat vamp that inspires and energizes Smith to react.

In “The Hunt”, Smith’s brushwork introduces an ambiguous, exploratory texture, soon settling into a delicate 4/4 progression marked by a lilting touch. The trio shifts into a brighter mode on “The Bridge”, which favors a consonant collective articulation. Complexity and fluidity are seamlessly intertwined, with another vamp providing a platform for Jensen’s melodic depth. 

Compositions like “Last of the Dogs” feel tailored to the trio, hinting at Monk-like accentuations as it offers forward-looking melodic cruises. Less buoyant, the title track, “Above Your House”, unfolds as a ballad with sinuous unison lines from Jensen and Tjalve, complemented by Smith’s soulful brushwork.

Jensen, who continues to expand his palette as both a bandleader and composer, makes compelling moves alongside his trio. Teamwork is what really stands out here, and that’s no simple task.

Favorite Tracks:
01 - Blow-ins ► 03 - The Hunt ► 05 - The Bridge

Benjamin Lackner - Spindrift

Label: ECM Records

Personnel - Mark Turner: tenor saxophone; Mathias Eick: trumpet; Benjamin Lackner: piano; Linda May Han Oh: bass; Matthieu Chazarenc: drums.

German pianist and composer Benjamin Lackner assembled an outstanding quintet for his ECM sophomore album, Spindrift. Norwegian trumpeter Mathias Eick returns after appearing on Lackner’s debut album, Last Decade (2022), while American saxophonist Mark Turner and bassist Linda May Han Oh join as exceptional new contributors, enriching Lackner’s understated compositions with their nuanced artistry. French drummer Matthieu Chazarenc, a longtime collaborator, rounds out the group and contributes one piece to the album.

Lackner’s compositions are precisely mapped out, becoming quietly enveloping and lavishly unhurried, yet never elevated to exalted heights. There are moments of radiant beauty, like the title track, “Spindrift”, which transitions from a rubato meditation to a 7/4 rhythmic flow over which Lackner and Turner stretch out in a sheer display of finesse and delicacy.

Other highlights include Chazarenc’s spacious “Chambary”, where the horn players swoop around in tandem in a well-wrought delivery, and “Fair Warning”, which leans into enigmatic tones, built on nuanced bass pedal points and piano suspensions that provide a churning backdrop for the soloists.

Airiness and feather-like touches compose the soaring “Mosquito Flats”, introduced by tender pianism and buzzing bowed bass. Eick leads the way before dancing in unison with Turner’s saxophone, later trading a few bars of improvisation before rejoining forces and concluding in harmony. “More Mesa” retains the same melancholic introspection, weaving effortless, lyrical melodies with classical influences in the piano work, while the pseudo-cinematic “Murnau” feels more dolefully dramatic than figuratively expressionistic.

Anchored by its sensitive, subtle palette, Spindrift may not always feel exciting. It’s undoubtedly competent material whose subdued nature may leave one wishing for more intensity.

Favorite Tracks:
01 - Spindrift ► 04 - Chambary ► 07 - Fair Warning

Scott Colley / Edward Simon / Brian Blade - Three Visitors

Label: GroundUP Music

Personnel - Scott Colley: bass; Edward Simon: piano; Brian Blade: drums // Guests - Chris Potter: tenor saxophone; Becca Stevens: vocals; Jana Dagdagan: spoken word; Richard Rood: violin; Elizabeth Lim Dutt: violin; Kathryn Lockwood: viola; Sachi Patitucci: cello; Rogerio Boccato: percussion.

This newly formed trio, co-led by bassist Scott Colley, pianist Edward Simon, and drummer Brian Blade—all celebrated for their fresh approaches to music—achieves remarkable cohesion in its honest explorations, demonstrating that the distinctive musical voices of its members make a strong whole.

The album opens introspectively with “Nostalgia”, a melancholic 3/4 piece brought to life by Blade’s richly expressive drumming, Colley’s stable foundation, and Simon’s narrative-like piano lines. Blade’s “Kintsukoroi” follows, a beautiful, heartfelt, and asymmetric ballad inspired by the Japanese art of restoring broken pottery. 

If “Ellipsis” carries an elusive Bill Evans-esque swing interwoven with exploratory modal jazz, then Colley’s “Three Visitors” nods to Ahmad Jamal, highlighted by warm, lyrical solos from bass and piano. In turn, “The Thicket” channels the inventive energy of Thelonious Monk and Misha Mengelberg, building dynamic polyrhythmic crescendos with a swinging edge. 

Simon’s “You Are” is impeccably essayed by the trio, further enriched by Chris Potter’s vibrant tenor saxophone improvisation, Jana Dagdagan’s self-reflective spoken word, and charming string accents. Meanwhile, “I Wanna Be With You” introduces the versatile vocalist Becca Stevens and Brazilian percussionist Rogerio Boccato in a vibrant contemporary pop tune with a colorful R&B tinge.

Throughout the album, Colley, Simon, and Blade demonstrate an indissoluble musical bond. Yet, their effort satisfies without creating a major impact.

Favorite Tracks:
02 - Kintsukoroi ► 03 - Ellipsis ► 04 - The Thicket

Neil Cowley Trio - Entity

Label: Hide Inside Records

Personnel - Neil Cowley: piano; Rex Horan: bass; Evan Jenkins: drums.

English pianist and composer Neil Cowley has captured the attention of modern jazz audiences with poetic instrumentals that emphasize subtlety and melodic clarity over overt virtuosity. Entity marks a warmly received and re-energized reunion with his trio mates, bassist Rex Horan and drummer Evan Jenkins, following a seven-year hiatus.

With a refined touch, the trio delivers 11 literate, thoughtfully crafted originals that highlight their sophisticated musical sensibilities. Cowley’s ability to set a mood with just a few notes is evident in “Marble”, a 3/4 crossover piece that feels like a fusion of cerebral post-bop and Spanish folk dance, reminiscent of Chick Corea. “Those Claws” leans into a soulful ostinato and syncopated drumming to create a spellbinding, minimalistic ambiance, while “V&A” offers a sublime spiritual tone, unfolding gracefully in an unconventional meter.

“Father Daughter”, with its pop/rock disposition, could easily fit into Radiohead’s repertoire, while “Adam Alphabet” is rhythmically defiant with its additive meter {8+8+6} and fascinating interplay that hints at electronic dance music. Both “Lemon Meringue” and “Sir Benjamin” unfold in quintuple meter, with the former pulsating with rhythm and the latter finding its own pocket in a slower, dreamy way. The trio makes their instruments soar in “Brood”, another 3/4 piece wrapped in serenity, and “Photo Box”, an emotionally resonant ballad layered with delicate cascading piano, sparse bass propagations, and gently brushed drums. 

Entity is exactly the album Cowley needed to create at this stage in his career. With tremendous assurance, he and his cohorts deliver music that is as much difficult to label as to resist.

Favorite Tracks:
01 - Marble ► 02 - Those Claws ► 03 - V&A ► 08 - Lemon Meringue

Steve Sandberg Trio - Live at Soapbox Gallery

Label: Self released

Personnel - Steve Sandberg: piano; Michael O’Brien: bass; Jay Sawyer: drums.

The versatility of three-time Emmy-nominated pianist and composer Steve Sandberg is vividly showcased in his new trio album, Live at Soapbox Gallery. Joined by his trusted collaborators—bassist Michael O’Brien and drummer Jay Sawyer—Sandberg offers a blend of dream-inspired originals and freshly reimagined classics by Billy Strayhorn, Thelonious Monk, and Mulgrew Miller. 

Staryhorn’s “Isfahan” opens with a sumptuous piano introduction and unfolds in a relaxed, cool tone as the trio enjoys a nice interlocking rapport. Another Strayhorn tune, “Upper Manhattan Medical Group”, is rendered with a vivid Brazilian flavor that is not strange to Sandberg—he was immersed in the NYC Latin jazz scene of the 80s and played with Bebel Gilberto. The shifts and dodges in the rhythm as well as the synergistic interplay between the three artists are nearly enough to work up a sweat.

Monk’s playful “Bye Ya” grooves with exuberance, its pronounced accentuations adding flair, while Miller’s waltzing “Carousel” is gently propelled by brushes as the trio quietly builds atmosphere. Yet, it is with the original material that the trio really shines. “Karma Yoga in the Kali Yuga” bursts with gleeful elan, taking advantage of the eccentricity of its dazzling rhythm. It’s a seven-beat modal dance that briefly ventures into a salsa-inspired passage before returning to its spirited opening theme. Sandberg’s solo dazzles with crystalline figures and nimble phrasing, O’Brien stirs an agitated bass flux, and Sawyer closes with expressive chops in the final vamp that serves as the piece’s conclusion.

The ballad “Under the Floor” is executed with a relaxed but profound poise, denoting an exotic feel that recalls the great saxophonist Yusef Lateef. “The Poet’s Dream” and “George Henry” are both highlights. The former is dreamy and mysterious, carrying an epic breadth and some pondering lyricism that goes beyond the gorgeous theme statement. The latter, a 7/8 exploration, mixes folk-rock and Latin elements in a crossing of Jethro Tull and Chucho Valdés. Its ecstatic finale, marked by crashing drums and intense Latinized pianism, leaves a lasting impression. 

Exhibiting well-honed musical instincts, the Steve Sandberg Trio delivers notable musical moments with unflappable technical facility.

Favorite Tracks:
01 - Karma Yoga in the Kali Yuga ► 05 - The Poet’s Dream ► 09 - George Henry

Euan Edmonds - Beyond Hope and Fear

Label: Desafio Candente Records, 2024

Personnel - Euan Edmonds: trombone; Dustin Laurenzi: tenor saxophone; Clark Gibson: alto saxophone; Paul Bedal: piano; Sam Peters: bass; Neil Hemphill: drums.

Trombonist and composer Euan Edmonds makes a compelling entrance onto the jazz scene with Beyond Hope and Fear, a solid debut album where he establishes a vibrant front-line interplay with dynamic saxophonists Dustin Laurenzi and Clark Gibson. The ensemble is well-supported by a tight rhythm section featuring pianist Paul Bedal, bassist Sam Peters, and drummer Neil Hemphill. Now based in Washington, DC, Edmonds explores pure jazz territory with a sextet drawn from Chicago, where he previously resided.

The album kicks off with “Jordan and Maria”, a cohesive post-bop piece inspired by characters of Ernest Hemingway’s For Whom the Bell Tolls. Bedal’s piano riff sets the pace following a dreamy, romantic introduction. His chordal work reinforces the foundation for the unison melody, paving the way for engaging solos from Edmonds and Gibson, who cruise through the changes with horn fills subtly weaving through. A lively vamp for the drummer bridges the theme’s choruses. 

While “Violet” offers a moody contrast, suspended over a nuanced pedal point and fleshed out by Laurenzi’s penetrating tenor saxophone as it navigates a dense rhythmic forest. In turn, “Wayfarer” exudes a joyful bounce, recalling the vibrant, straight-ahead styles of Steve Turre and J.J. Johnson. This same exuberance and robust sound also define “Endurance”, with its deep groove and strong harmonic drive. 

The latter track forms part of Between Hope and Fear, a 30-minute, seven-part suite that showcases Edmonds’ artistic depth. The title track of the suite brims with expressive richness, underpinned by extraordinary piano and bass interplay. Laurenzi’s cutting-edge phrasing creates vivid sonic landscapes, blending precision with adventurous agility, while Bedal’s dropping pianism gives a strange, alluring detail to the playing. Another standout from the suite, “Axis”, opens with muted trombone and alto sax, constructing a soulful 3/4 harmonic progression. Featuring unaccompanied passages that spotlight the trombone and saxophones, the piece crescendos into an ecstatic finale, with the entire ensemble contributing to an atmosphere of opulent uplift.  

The closing track, “Arthur’s Seat”, channels strains of hard-bop balladry, journeying through classic traditions in a 3/4 time signature. Edmonds’ auspicious debut as a bandleader satisfies with elegantly texturized arrangements that underscore the power of genuine communication. His compositional voice is punchy and confident in promise.

Favorite Tracks:
01 - Jordan and Maria ► 05 - Between Fear and Hope ► 07 - Axis ► 09 - Endurance

Jakob Bro - Taking Turns

Label: ECM Records, 2024

Personnel - Jakob Bro: guitar; Lee Konitz: alto and soprano saxophone; Bill Frisell: guitar; Jason Moran: piano; Thomas Morgan: bass; Andrew Cyrille: drums.

With Taking Turns, Danish guitarist and composer Jakob Bro presents a fine compendium of engagingly layered compositions recorded 10 years ago in New York. This exceptional record features the late, legendary saxophonist Lee Konitz, with Bro weaving smooth harmonic tapestries alongside fellow guitarist Bill Frisell and pianist Jason Moran. Working on a consistently lucid rhythmic foundation are bassist Thomas Morgan and drummer Andrew Cyrille.

“Black is All Colors at Once” opens with the rippling pianism from Moran— who had never worked with Bro before—soon joined by contemplative, arpeggiated guitar layers. Konitz's saxophone melodies float delicately atop, while Cyrille’s understated brushwork provides a subtle rhythmic underpinning. Konitz exhibits his distinctively explorative phraseology throughout but takes center stage on “Milford Sound”, a poignant ballad narrative dedicated both to the late free jazz pioneer Milford Graves and the New Zealand fjord of the same name.

Surprisingly, on the open-ended “Haiti”, Konitz makes a rare appearance on soprano saxophone, adding a playful yet gentle touch to a piece that dances gracefully with amiable charm. The rhythm here suggests a flowing sextuple feel, contrasting with the {3+5} cadence of “Aarhus”. The latter track showcases the ensemble’s dynamic control and cohesion, offering a soaring perspective through its carefully crafted rhythmic drive. In turn, “Pearl River”, evocative of New York’s Chinatown and its Asian emporium, leans into more abstraction and suspension. Here, Bro and Frisell intertwine their guitars to create a beautifully sculpted, textural surface that invites deeper listening.

In “Peninsula”, guitars and piano contribute layers of detail that only add to the overall chemistry. Elevated levels of illumination and relaxation are easily found here, and restraint is a key element of all the tracks in this set. The sax-less closer, “Mar Del Plata”, delivered at a slow 3/4 tempo, is nothing short of stunning, with everyone circling around an endearing melody that refuses to come out of your head. 

Abounding in smooth, expressive gestures, Taking Turns is another fundamental touchstone for Bro’s radiating atmospheric style, marking an important phase in his career. It grows more enchanting with every listen, offering both warmth and introspection in equal measure.

Favorite Tracks:
02 - Haiti ► 05 - Pearl River ► 07 - Mar Del Plata

Ivo Neame - Zettalogue

Label: Ubuntu Records, 2024

Personnel - Ivo Neame: piano; George Crowley: tenor saxophone; Tom Farmer: double bass; James Maddren; drums.

Ivo Neame, a highly skilled British pianist and composer, is a name to watch closely. His tenth album as a leader, Zettalogue, stands at the forefront of the European jazz scene, showcasing music that is both complex and organic, characterized by odd meters, nuanced expression, and fluid rhythmic and harmonic transitions. The seven compositions on this album—including two revisited pieces—are richly textured and anchored by a sophisticated modern edge, drawing from a variety of genres. He is joined by invaluable regular associates, saxophonist George Crowley, bassist Tom Farmer, and drummer James Maddren, who together craft a compelling musical mosaic.

“The Rise of the Lizard People”, a track originally featured in Neame’s large ensemble album Glimpses of Truth (Whirlwind Recordings, 2021), opens the album with a lively, offbeat rhythmic cadence driven by an engaging piano riff. This wake-up call to the American people is marked by intricate parallel sax-piano lines and a freewheeling piano solo by Neame, filled with bold ascents and seamless landings. The following track, “Drone Yer Sorrows”, channels rhythmic inventiveness reminiscent of Chick Corea and Joe Henderson, blending Latin and post-bop influences. Crowley seizes the opportunity to shine, delivering fiery, dark-toned expressions. 

The dynamic title track, “Zettalogue”, evokes the sensation of a high-speed train racing through a smoky landscape. Tempo shifts mimic perpetual motion, conjuring the blurred scenery outside the train’s window. The saxophone’s multi-line effects elevate the melody, providing a sense of urgency and energy. In contrast, “The Trouble With Faith” offers a moment of introspection. This ballad creates space for reflection, balancing the album’s otherwise energetic tone with serene elegance.

“Pala” and “Être Sur le Train de Gravy” are standout examples of the quartet’s cohesive interplay, blending intricate meters with a focus on creative freedom within well-defined structures. The former, propelled by Maddren’s captivating drumming, originally appeared on the quartet’s album Moshka (Edition Records, 2018). The latter, a fresh modal creation, features Crowley’s commanding tenor saxophone, which soars with intensity and flair.

Filled with musical twists and turns, Zettalogue consistently surprises and delights, resonating deeply with the postmodern zeitgeist of the 21st century.

Favorite Tracks:
01 - The Rise of the Lizard People ► 02- Drone Yer Sorrows ► 03 - Zettalogue ► 05 - Être Sur le Train de Gravy

Zacc Harris - Chasing Shadows

Label: Shift Paradigm Records, 2024

Personnel - Zacc Harris: guitar; Brandon Wozniak: saxophone; Bryan Nichols: piano; Chris Bates: bass; Pete James Johnson: drums.

Minneapolis-based guitarist Zacc Harris has assembled a sure-footed quintet for his latest album, Chasing Shadows. Six of the eight original compositions were written during a five-day retreat in western Wisconsin, where Harris drew inspiration from the serene natural surroundings.

The album opens with its title track cut, a tribute to the interplay of light and shadow in the landscapes he encountered, as well as a nod to his young son, who once delighted in chasing his own shadow. The piece begins with a chord progression that contains mystery and doubt but then gradually verses into a more hopeful and lighter mood. Harris, saxophonist Brandon Wozniak, and pianist Bryan Nichols take turns within the improvisation section, expressing their thoughts with clarity and spirit while showcasing their inquisitive languages. They are backed by reliable rhythmic peers, bassist Chris Bates and drummer Pete James Johnson.

The tranquil waltz “Moonrise” gracefully sets the stage to the more elaborate “Catalyst”, a post-bop gem with an odd-metered rhythmic pattern established by Harris’s crisp guitar introduction. Influences of Kurt Rosenwinkel and Mark Turner shine through as Harris and Wozniak navigate the intricate melody and deliver fluid, inspired solos. Similarly, “Conduits” feels open-minded and clearly-eyed with its breezy, in-the-pocket flow, while “Worlds Apart” bears a sophisticated harmonic sequence, shaping up as a forward-thinking fusion of post-bop and bossa nova groove. It somehow brings to my mind the timeless charm of Joe Henderson’s classic tune “Blue Bossa”.

While the group rarely delves into abstract territory, they excel in creating cohesive narratives. A good example of the group’s effortless communication is the quick-witted “Fleeting Moments”, a contemporary hard-bop-infused cut that swings with a Tom Harrell’s vibe. “This Day”, a ballad, provides a serene closure.

Harris’ compositions are thoughtfully tailored to the strengths of his associates, achieving a strong emotional resonance with the listeners. Chasing Shadows offers a rewarding listening experience.

Favorite Tracks:
03 - Catalyst ► 05 - Worlds Apart ► 07 - Conduits

The Bad Plus - Complex Emotions

Label: Mack Avenue Records, 2024

Personnel - Chris Speed: tenor saxophone; Ben Monder: guitar; Reid Anderson: bass, synth; Dave King: drums, synth.

The Bad Plus, a quartet of first-rate musicians renowned for their genre-blurring compositions, returns with their latest album, Complex Emotions. Saxophonist Chris Speed and guitarist Ben Monder, who joined founding members bassist Reid Anderson and drummer Dave King in 2021, have become integral to the ensemble. Their second album as a quartet features eight original compositions—four by Anderson, two by King, and one each by Speed and Monder. Together, these pieces explore the individual compositional voices of the band members who rove beyond the confines of stereotyped jazz and rock to create something wholly distinctive.

The album opens with two Anderson-penned tracks. “Grid/Ocean” is smoothly laid down with a blend of wet and dry percussion timbres, a soulful melody that puts light in the horizon, and a circular pop/rock harmony. Monder’s guitar work dazzles, glowing with intensity as King’s cymbal flourishes build to an exhilarating climax. The next track, “French Horns”, is marked by an invigorating rhythm, drawing freely from alternative rock and featuring synchronized guitar-sax melodies, anthemic chordal patterns supporting Speed’s nimble improvisation, and a scorching, metal-inspired guitar solo by Monder.

King’s flair for rhythmic complexity and tricky meters shines on “Casa Ben”,  which, delivered with a progressive rock posture, showcases a killer theme centered on a dazzling descendant phrase, and variations of 10 and 12 beat-cycle passages. Speed’s “Cupcakes One” channels a punk rock vibe and a pop melody, elevated by Monder’s inventive solo. The track’s infectious rhythm invites listeners to move, much like Anderson’s expansive “Carrier”, a groove-laden piece driven by an off-kilter beat shuffle. Nonetheless, Monder and Speed provide a contrasting dreamy feel, creating a Mazzy Star-kind of melancholy, while Anderson’s bass shifts seamlessly from understated to commanding. 

The adventurous “Deep Water Sharks”, another Anderson composition, offers a vibrant krautrock-inspired groove filled with rapid ideas, guitar noise and scattered harmonics, as well as melodic fluidity. Speed’s improvisation injects further vitality into the track. The album concludes with Monder’s “Li Po”, an eery, atmospheric number filled with dark suspensions and continuous tension. Previously featured on Monder’s triple album Planetarium, this haunting piece feels tailor-made for a mystery or horror film soundtrack.

Complex Emotions solidifies The Bad Plus as a sensational post-modern jazz act. By forging fresh paths and emphasizing the distinct musical identities of its members, the album offers a compelling and multifaceted listening experience, confirming the quartet’s creative vitality.

Favorite Tracks:
01 - Grid/Ocean ► 02 - French Horns ► 05 - Cupcakes One ► 06 - Carrier

John Williamson - The Northern Sea

Label: Ubuntu Music, 2024

Personnel - John Williamson: double bass; Alex Hitchock: tenor saxophone; Jonny Mansfield: vibraphone; Jay Davis: drums; Immy Churchill: voice; Alex Wilson: piano.

The up-and-coming British bassist John Williamson makes a compelling entrance into the jazz world as a leader with his debut album, The Northern Sea. Featuring a talented roster of trusted collaborators from the modern UK jazz scene, the album presents 10 original compositions, ranging from tranquil ballads to invigorating swing pieces. Written over three years, each piece began as a melodic fragment, reflecting Williamson’s distinctive approach to composition, where melody takes precedence.

“Contrafact 1”, based on a C-major structure taken from the jazz standard “I Should Care”, showcases Williamson’s bass in a commanding lead role, setting the groove with a confident swing. On this number, Jonny Mansfield’s vibraphone ‘sings’ blissfully melodies, and Alex Hitchcock’s tenor sax explores with rhythmic provocation and articulated language. This theme of energetic interplay continues in “Contrafact 2”, a brisk, high-energy number where Williamson and drummer Jay Davis drive a relentless swing, with Hitchcock and Mansfield exchanging fiery unison lines. “Contract 3”, a chord-less, bop-inspired trio piece, strips things back to a classic saxophone-bass-drums format, emphasizing pure rhythmic and melodic dialogue.

The title cut, “The Northern Sea”, falls into a modern kind of daring, incorporating harmonically rich piano playing by Alex Wilson and thrilling exchanges between saxophone and vibraphone. The voice of Immy Chuchill adds a haunting dimension, reappearing on “2700 Q Street Northwest”, a radiant track that features a folk-inspired melody, vibrant interplay between piano and vibes for a colorful background, and an unaccompanied bass dissertation that exudes optimism.

More subdued moments are found in “Gozo”, a soft-spoken rubato ballad that soars in the ether with vibraphone suspensions; “Nothing Grows in Concrete”, a sensitively brushed lullaby inspired by Sibelius’ “Symphony Number 2”; and “Get Out While It’s Light”, another beautifully crafted ballad elevated by Hitchcock’s slippery tenor solo and occasionally stirred by Davis’ engaging drumming.

Throughout the record, the rapport among the musicians is palpable, enabling a seamless exploration of melody, texture, and emotional depth. The Northern Sea is a confident and promising debut that firmly establishes Williamson as a rising star in contemporary jazz.  

Favorite Tracks:
01 - Contrafact 1 ► 04 - The Northern Sea ► 10 - 2700 Q Street Northwest

Tom Harrell - Alternate Summer

Label: HighNote Records, 2024

Personnel - Tom Harrell: trumpet, flugelhorn; Mark Turner: tenor saxophone (#1,2,3,9,10); Dayna Stephens: tenor saxophone (#4,5,6,8); Luis Perdomo: piano, Hammond B3, Fender Rhodes; Charles Altura: acoustic and electric guitar (#2,3,5,7); Ugonna Okegwo: bass; Adam Cruz: drums.

Once again, American trumpeter and composer Tom Harrell makes the best use of tradition and modernity in jazz in his latest outing, Alternate Summer. A lyrical storyteller and prolific artist, Harrell maintains his reputation for producing high-quality work, consistently earning the admiration of his listeners. This new effort features ten new original compositions performed by a stellar lineup of collaborators—most of them familiar faces alongside a fresh addition—that bring Harrell’s distinctive style to life.

“Miramar” thrives on a staccato central melody set against a bluesy, groovy texture that supports inventive improvisations. Harrell’s classy statement bridges the realms of hard-bop and post-bop, while saxophonist Mark Turner and keyboardist Luis Perdomo contribute richly melodic passages. Turner’s blistering licks shine even brighter on “Peanut”, a post-bop tune with funk undercurrents, and “Alternate Summer”, a breezy ballad that exudes warmth.

Recording with Harrell for the first time, tenorist Dayna Stephens appears on four pieces - “Intermezzo”, an elegant, low-key 3/4 piece adorned by a wonderful bass solo by Ugonna Okegwo and Harrell’s heavenly reflections; “UV”, a shifting-meter blues that incorporates diffusing B3 organ textures, a sinuous yet intelligible electric guitar solo by Charles Altura, and a vamp for Adam Cruz’s pile-driving drums; “Chalcedon”, a lush post-bop piece with a captivating melody and in-the-groove work by Perdomo; and “Plateau”, which, unfolding with epic ambition, has a pulsating rhythm bassline charting the way forward.

“Wind”, one of the album’s standout tracks, is a serene modal composition anchored by an insistent pedal point and enlivened by unison trumpet-sax melodies and vibrant interplay. There are contrapuntal moves, and a more freeing, funkified texture in support of solos from Perdomo, Turner (who excels with his inside/outside tenor phrasing), and Harrell. For the latter’s improvisation, the band shifts to a 3/4 bossa-flavored groove. 

The album concludes on a high note with the intoxicating “Radius”, which evokes the spirit of Joe Henderson. Here, the ensemble engages in a rhythmically intricate and unfettered dialogue, showcasing their collective chemistry and virtuosity. With Alternate Summer, Harrell once again proves himself to be a masterful, articulate trumpet lead, delivering with precision and emotional depth.

Favorite Tracks:
04 - Intermezzo ► 06 - Chalcedon ► 09 - Wind ► 10 - Radius

Caleb Wheeler Curtis - The True Story of Bears and the Invention of the Battery

Label: Imani Records, 2024

Personnel - Caleb Wheeler Curtis: stritch, trumpet, sopranino saxophone, tenor saxophone; Sean Conly: bass; Michael Sarin: drums, Eric Revis: bass; Justin Faulkner: drums.

Following the authoritative statement of Heat Map (Imani Records, 2022), saxophonist and composer Caleb Wheeler Curtis returns with The True Story of Bears and the Invention of the Battery, a double album featuring two finely tuned trios that excel in free-flowing interplay and fluid structures. Curtis, who now has four albums under his belt, plays three different saxophones and trumpet here, employing overdubs to create moments of contrapuntal and synergistic stimulation.

Disc One features Curtis alongside bassist Sean Conly and drummer Michael Sarin, who provide alert support across nine originals and a solo saxophone rendition of Arthur Blythe’s “Odessa”, where Curtis’ lyrical grace in on full display. “The First Question” is set in motion by leisurely groovy bass lines and understated drumming, before saxophone and muted trumpet appear in parallel. The horns explore an unaccompanied, ruminative passage before Conly’s bass returns with rhythmic flexibility, adding a dynamic lift to the piece.

“This Cult Does Not Help” introduces a start-and-stop beneath a Monk-esque, propelling the trio into freebop territory as Conly’s swinging bass locks in with Sarin’s snappy brushwork. Curtis’ exploration of timbre conjures fluid melodic streams on both saxophone and trumpet. Offering a distinct mood, “A Feather is Not a Bird” gently dances through a simple three-note figure that repeats with hypnotic, contrapuntal intensity. 

The standout track, “Bears and the Invention of the Battery”, initially floats with soaring arco bass, effervescent drumming, and edgy reed and brass sounds. This later transitions into an electro-rock-inpired framework that, grooving and throbbing with spirited rhythmic displacements, features interesting improvisational ideas coming from Curtis. He maintains this zealous sense of direction on “Stellar Ray, See?”, building on top of methodic trap drums and inquisitive bass expressions. Sarin’s drum choices work like a charm and Conly’s resonant bass lines are enhanced by extremely tasteful patterns.

For Disc Two, Curtis enlists bassist Eric Revis and drummer Justin Faulkner for a set of ten Thelonious Monk compositions. Standout moments include the high-energy rendition of “Raise Four”, the gentle melodic clarity of “Reflections”, the infectious groove of “Oska T.”, and the blistering sax-over-drums manifesto of “Ugly Beauty”. Curtis also shines on “Jackie-ing”, balancing timbre, articulation, and inventive motifs with finesse.

Across both discs, Curtis sounds very much like himself, blending sensitivity and physicality. Each trio finds creative ways to explore their sound, making this album a distinct and valuable addition to Curtis’s discography.

Favorite Tracks - Disc One:
02 - The First Question ► 03 - This Cult Does Not Help ► 06 - Bears and the Invention of the Battery

Fabio Rojas - Perseverance

Label: Self released, 2024

Personnel - Fabio Rojas: drums; Greg Osby: alto saxophone; Gustavo D’Amico: tenor and soprano saxophone, flute; Kevin Harris: piano, Fender Rhodes; Osmar Okuma: acoustic and electric bass.

Venezuelan drummer and film composer Fabio Rojas showcases his wide-ranging stylistic interests in his debut album, Perseverance, a reflection on Venezuela’s transition from democracy to dictatorship, as well as the personal struggles that have shaped his musical journey. Rojas has been living in the US for 14 years, and now based in New York, he leads a boundary-pushing unit featuring legendary Greg Osby on alto and Brazilian Gustavo D’Amico on tenor, soprano, and flute. In order to support this excellent frontline, Rojas employed bassist Osmar Okuma and keyboardist Kevin Harris, contributing rich, prismatic textures across nine well-structured originals and a collective studio improvisation.

The album opener, “Ni Un Paso Atras”, thrives with a confident pace and powerful energy driven by Okuma’s snappy electric bass lines and Rojas’ aerodynamic pulse, complemented by dynamic fills. Harris’ piano riff, rooted in a chant of freedom from Venezuelan protests, provides a striking foundation before Osby dazzles with his inside/outside soulfulness over a seven-beat cycle filled with emotional charge. The following track, “Atlas”, keeps listeners in check, exhuming a tensile compression in its asymmetric harmonic flow. The band plays with tempo and speed while maintaining high energy, with standout solos from D’Amico on soprano and Rojas, whose scampering tom-toms and loose-limbed cymbals elevate the track.

Shaped with sophisticated sounds, “Homage AP” and “Loneliness” denote softer edges. The former, a dulcet folk-inspired waltz, is a tribute to Polo (a harmonic structure within Venezuelan folk music from Margarita Island), while the latter is a hip blend of jazz, smooth funk, and R&B. Once again, Osby’s narrative-rich soloing shines through.

“NU, Justice or Accomplice?” takes the form of a balladic complaint against the United Nations’ inaction in addressing Venezuela’s crisis. That’s before the group heads out into groovy territory with “Outro”, a piece spontaneously created in the studio, where Harris’ warm, shapely Fender Rhodes playing takes center stage. Rojas’ versatile drumming and the ensemble's dynamic horn activity add extra color. 

Perseverance is a shining example of collective effort that also contains brilliant soloing. Merit has to be given to Rojas in this debut, which establishes him as a drummer and composer to watch for future sonic explorations.

Favorite Tracks:
01 - Ni Un Paso Atras ► 02 - Atlas ► 04 - Loneliness

Isaiah Collier & The Chosen Few - The World Is On Fire

Label: Division 81 Records, 2024

Personnel - Isaiah Collier: saxophones, vocals, percussion; Julian Davis Reid: piano; Jeremiah Hunt: bass; Michael Ode: drums // Guests include Kentheny Redman: flute (#3,10), Corey Wilkes: trumpet; Ed Wilkerson Jr.: alto clarinet, and more.

Saxophonist and composer Isaiah Collier’s latest outing, The World is On Fire, is a passionate plea for change, using the power of his infectious music to address pressing global issues like racism, genocide, abuse of power, and injustice. Relying on the dazzling rhythm section of his flagship band, The Chosen Few, Collier continues his meteoric rise on the left side of the jazz spectrum with an album that urges everyone to stand up for what’s right.

The opening cut, “The Time is Now”, is an effusive modal piece energetically introduced by pianist Julian Davis Reid before bursting into a frenzied swing. Collier’s commanding tenor saxophone, evocative of jazz modalists like Billy Harper and McCoy Tyner, takes center stage with eloquence. Following Reid’s solo, it’s the drummer Michael Ode who hits with the force of a tornado. In “The Hate You Give is the Love You Lose”, the trio channels Pharoah Sanders’ spiritual energy, blending folk-like saxophone melodies with a brisk 3/4 rhythm that moves with raw intensity.

The title track, “The World is On Fire”, inspired by the Amazon wildfires, takes the form of a pure modal blues introduced by vigorous, blocky piano chords and crashing cymbals. An energetic riff spirals atop a manic, danceable rhythmic flux before some fierce exchanges between Collier and Reid. “Crash”, a reflection on economic collapse, pulses with frenetic energy, especially in a wild section where gusty saxophone squalls come upon a whirlwind of drums.

The quartet moves nimbly and confidently on “Ahmud Arbery”, a mournful mid-tempo 3/4 groover set on fire by visceral and urgent saxophone playing. Guest flutist Kentheny Redman joins for “Amerikkka the Ugly”, whose swinging posture and strong bluesy feel serve to express disillusion over the shameful attempt against American democracy on January 6th. Here, bassist Jeremiah Hunt delivers an emotional arco improvisation, infusing extra solemnity, while Collier takes flight on the soprano sax.

The quartet is expanded with revived positivity for the album’s closer, “We Don’t Even Know Where We’re Headed”, which, moved by a buoyant riff and lyrics by Kennedy Banks, incorporates layers of trumpet, bass clarinet, harp, cello, flutes, and multiple vocal harmonies. Collier’s clarity of vision and bold compositional approach shine throughout, making The World is On Fire a must-listen for fans of post-bop with vanguard jazz inclination.

Favorite Tracks:
01 - The Time is Now ► 05 - The Hate You Give is the Love You Lose ► 06 - Crash ► 09 - The World is on Fire

Brad Shepik - Dream of the Possible

Label: Shift Paradigm Records, 2024

Personnel - Brad Shepik: guitar, Bulgarian tambura, saz, banjo; Layale Chaker: violin; Amino Belyamani: piano; Sam Minaie: bass; John Hadfield: drums, percussion.

American guitarist Brad Shepik possesses a distinctly global musical identity, exhibiting a remarkable ability to seamlessly integrate music from diverse cultures into a post-bop context. Dream of the Possible, his ninth album as a leader, marks the return of his Human Activity band—now featuring an entirely new lineup—in a ten-part meditation on climate change.

The album opens with “Code Red”, where a vivid guitar figure sets the tone, followed by Amino Belyamani’s evocative piano chords, John Hadfield’s groove-driven drumming, and Sam Minaie’s breathing bass lines. Violinist Layale Chaker, born in Paris and raised in Lebanon, joins them, adding a rich melodic layer. Shepik’s guitar solo is lucid and deeply expressive, while Minaie delivers a brief, compact statement before supporting a vamp in five for Belyamani’s practical deliberations. The piece culminates in a unified riff. The following track, “The Search”, is a mid-tempo waltz with doleful folk inflections, composed for the migrants seeking refuge from environmental changes.

Shepik’s world fusion makes skillful use of odd meters in pieces like the title cut, “Future Generations”, and “Naturitude”. “Dream of the Possible” builds around a cyclic harmonic progression with dark undertones, driven by a propulsive beat that helps define its 5/4 time signature, while shifting figures spread over a more rock-inspired texture. In turn, “Future Generations” unfolds gently in seven, and “Naturitude” stands out with its exotic charm, revealing a 10-beat cycle over which Chaker gracefully showcases her sinuous melodic lines. A yawing shift in motion is carried out halfway for Shepik’s guitar solo.

Shepik and Chaker continue to blend their sounds beautifully on “Symbioticity”, offering a colorful, charming spin on Middle Eastern chants and rhythms with a collective center. The band, never dabbling and always to the point, shifts gears for “Travel Back”, which starts quietly before taking off with purposeful, invigorating movements. This number evokes nostalgia for a youthful past and a healthier planet, with Shepik navigating modes and key changes with aplomb.

Brimming with emotion and heart, Dream of the Possible combines thoughtful composition and emphatic sounds into a sincere plea for environmental action. I wholeheartedly stand with Shepik in this cause.

Favorite Tracks:
01 - Code Red ► 03 - Dream of the Possible ► 06 - Travel Back ► 09 - Naturitude